The Distorted Reflection of Woman in Film Noir

Paper by Grace Perry.

The representation of women throughout films has drastically changed from the beginning of the film to the modern day, owing a great deal of this growth to the noir filmmakers of the 1940’s and 50’s. As the giant shift in the portal of women in films began with noir film, traditionally being represented as ‘’housewives”, polite, possibly hidden with passive dreams of a bigger life, however never as ambitious as seen in the creation of noir woman. Noir films thrived even though they weren’t necessarily unrecognized by most American film industry professionals of that era as such, and throughout the 1970s despite them being identified by French critic Nino Frank in 1946, many of the classic films noir were referred as “melodramas. The term film noir, French for literally “dark film”, or “black film”, reflected the common themes among this type of filmography, compose often of dark lighting, creative angles, and juxtaposing of whites and blacks to great an abstract world where monsters walked within the shadows. The lighting style of these films frequently incorporated a low-key, black and white lighting; along with a chiaroscuro style that is defined as the use of strong contrast between light and dark. These films were also associated with the reflection of post-war anxieties persistent within that time, and how the creation and use of the femme fatale mimicked the fear many veteran men had of returning to a workforce now employing women. Noir films affected the overall view of woman at the time and depicted their strive for independence as a cunning manipulation of men.

Two films that epitomize the the characteristics of noir film are, “The Asphalt Jungle” (John Huston, 1950) and “Niagara ” ( Henry Hathaway, 1953), as the filmmakers evoke a parallel style to what the textbook, “American Film: A History” Jon Lewis describes as what the early film noir characteristics displayed, stating, “…morally ambiguous urban melodrama, matched low contrast cinematography, skewed camera angles, and an unremitting dark rending of the urban landscape…”, reflected in the film “Niagara” as the beautiful, honeymoon story of Niagara Falls, equipped with cozy cottages, and a gorgeous view of the blue water flowing down the side of the cliff. The setting highly contrasts with the darker lighting, and then later revealed murderous narrative. There are many themes common to noir utilized in both movies and while examining both narratives it’s clear how they explore true noir elements of murder and mystery. “The Asphalt Jungle” follows a dark narrative, depicted through the characters with a heavy use of blue or black suits, dark hats, and a seemingly endless supply of cigars. The main protagonist, Dix Handley, is a criminal only able to avoid imprisonment as the witness’ are frightened to testify. Lighting within the film is limited, playing off the shadows to reflect the darkness of the world the character are apart of, a city is overridden with crime, and a police force with the belief driving fear into innocent witness will help them protect the cities better. The entire film paints an image of a twisted society that can only come to justice through pain and death. The character Dix is portrayed slightly more innocent than the rest of the gang members by showing a craving for a “better” life, as seen in the particular scene where he expresses to Doll Conovan (Jean Hagen), who is clearly in love with him, his biggest dream of returning to the horse farm that his father lost during the Great Depression and purchasing it. As he sheds the layers of masculine superiority, it’s a single moment where the film feels lighter, genuinely contrasting with the overall gritty style and pessimistic themes.

In the film “Niagara”, many of the scenes throughout the film project the dark stylistic techniques of noir film, such as the many moments where the lighting reflects the shadows of blinds shades illustrate parallel lines reminiscent of prison bars to inform the audience that these characters probably have some morally challenging ways. As discussed within textbook “An Introduction to Film Genres” noir styling often reflected the themes from hard-boiled crime fiction that emerged within the 20’s and 30’s, the dark feelings expressed through literature was pulled as inspiration. This included work from photographer Arthur H. Fellig and his stylistic techniques which were said to create the foundation of film noir. Fellig was known as a nocturnal man, often photographing the harsh, candid, reality of gangster attacks, drug and prostitution bust, and even as far as public murders. The genre style known as the noir builds of the concepts of city life and methods of crime detection. As well as applying characteristics from Edgar Allan Poe’s stories and narratives such as Sherlock Holmes noir filmmakers created films that depicted characters as “halfway between law and the underworld” (p.488). Filmmaker utilizes creative props and motifs to suggest deeper meaning such as mirrors to indicate alternate or hidden personalities within the characters. A particular scene worth analyzing within the film “Niagara” which the moment in which Rose identifies her dead husband’s body, the opening of the scene completely engulfed in shadows, as Rose slowly walks into the room a lamp is flickered on above illuminating the room and the bed presumably holding a corpse. The captured effect is the dramatic reveal of the body, as well as Rose equally dramatic, and fake, look of horror as the doctor lifts up the sheet, moments later collapsing onto the floor in an emotionally manipulative move to receive sympathy. The film overall combines the elements of jealousy, anger, and desire which coincide with predictable noir themes. This follows the first component within noir films and the role women play, which is often coined with the term femme fatale, defined as a deadly perspective woman who uses her seductive powers to manipulate men into committing crimes and ultimately toward their death. Employing Marilyn Monroe as a female lead, the different approaches she takes on noir characteristics, compare and contrast throughout both films, as her performance within “The Asphalt Jungle” is noticeably smaller than her’s within “Niagara” most likely due to the narrative of the film, as the film “Niagara” represents as more dark and manipulative, while posing as giggly, soft-spoken woman she gains the trust of those around her for her personal gain. more The character Rose plays greatly toward the role of the femme fatale, in one scene even reflected through a mirror, a common motif in noir films represent a more sinister side.

The representation of two-sided women is also exemplified in the film “The Asphalt Jungle” and the character Angela Phinlay (Marilyn Monroe), however much more diluted, as her character initially comes across as dreamy and languid, pictured lying around on the couch, and is only turned against the man she sleeping with under the cruel and unusual pressures of the law enforcement. This film did, however, hold many similarities in the over-sexualization of Monroe’s characters, following the majority of noir films representation of women was through a new sexual lens, despite being produced in the heat of the new Hayes code, noir films were heavily presumptuous, full of sexual innuendos such as smoking cigarettes. Using the means of narrative and dialogue noir skillfully avoided the confinement of this code, and while the Hayes code did ensure that no film character could be actually seen getting away with murder or that no character could be seen sharing a bed with anyone but a spouse, films like “Niagara” exposed these forbidden themes in numerous way, disguising them as “innocent” scenes. Such as the moment Rose is exiting the shower, gracefully whipping the towel around herself, the pale white towel wrapped in her hair contrasting heavily with the bright red lipstick seemed permanently tinted to her lips. She as George to towel her back as she smokes a cigarette, the scene while not technically breaking the rule of the code, they still are able to illustrate to the audience the sexual intentions of the scene. Through the elements of props that represent danger and escape, showing as much skin as possible, and colors that produce feelings of passion the film “Niagara” shows the audience how noir films push the boundaries that many films, during this time period, were too afraid to even dare. Nevertheless, women were seen in a very new, and exciting light, no longer just the passive damsel, unknowing of her own strength, and now replaced with the fierce, devious femme fatale. Contrary to this character, are women who are passive in nature, normally depicted as unwanted or dull. Within the film “Niagara” this is demonstrated through the character Polly, who is often even compared to Rose by her own husband, earning questions like, “Why don’t you wear dresses like that?”, and this negative, practically offensive remarks only fueled the soon to become ideals of women. Later in the film, it’s even shown Polly defending Rose’s right to wear what she pleases, as George rather call her a tramp, the conflicting ideas of what women “should” dress and look like are easily tied to the complicated outlook on women during this time period. During 1950 as the woman grew much more independent, frequently fighting for jobs, and in result unintentionally creating a discontent relationship between genders. The last key aspect of noir films is the role fate plays, as the leading protagonist often struggles with coming to terms with the past events that have to lead him toward his dark fate. Which could be reflective of the society’s recent history and many veteran men’s fear of returning to a post-war America that had transformed while at war. Explained in “American On Film”, “For some men, it seemed as if women had taken over- in jobs, in communities, and even in the home” (269), and as the rise of tensions between genders grew, wished to be ignored by the hegemonic patriarchy, attempting to reinscribe traditional masculine ideal, however that could only be solved through renegotiation of gender roles.

Overall, noir film is a reflection and visual representation of the anxieties adamant in the post-war society. Displayed within their major themes of dark and warped visions of life. Noir film is especially notorious for their illustration of shadows and strange angles, which could be said to demonstrate a world overrun with chaos that is bleeding into the scenery around it. As described in Jon Lewis, “American Film: A History, these film, “…portrayed humans beings as treacherous and violent by nature…”(178). From the eerie introduction soundtrack at the beginning of Niagara to the equally creepy smile of Rose manipulating those around her the film emits, as well as the violent gangs and gruesome murders “The Asphalt Jungle” is composed of, it’s clear how film noir expresses its key elements of violence, sex, and paranoia. In conclusion, the significant objective in film noir is to highlight the adamant message it depicts about women, and how it reflects the American society’s state of mind at the time which commonly was a patriarchal fear of women replace men through the workforce. As described in “America On Film” “…the wartime economy encourage a new image of a stronger, more capable American woman…” (267), by analyzing the primary characteristic of noir the femme fatale it’s obvious how the major theme of these films is the relationship between genders, and the complicated restrains they feel society places on them. Often represented through the use of female antagonist, the evil force driving our protagonist along with his journey toward a very untraditional ending of death, film noir, successful in its representation of independent woman, however still adamantly supportive of the patriarchal dominance, in the long run, needing to combine powerful woman with malicious motives and psychotic mentality.

Work Cited

Lewis, Jon. American Film: a History. 1st ed., W.W. Norton, 2008.

Friedman, Lester D, David Desser, Sarah Kozloff, Martha Nochimson, and Stephen
Prince. An Introduction to Film Genres.,2014. Print.

Benshoff, Harry M, and Sean Griffin. America on Film: Representing Race, Class,
Gender, and Sexuality at the Movies. Malden, MA, USA: Wiley-Blackwell, 2009.
Print.